),

I had been planning to repurpose the jeans in some way for awhile. Most of the jeans are the ones that I wore before my weight loss, with a few pairs from Kris with holes in the knees and pockets. At first I was thinking about a quilt, but I just have never gotten the real urge to try quilting… so, with my new fascination and love for weaving, I figured the jeans would be a great way to practice rag rug weaving! My used loom came with several rag shuttles, and after reading the aforementioned books, I think the process sounds like a lot of fun. So… I just shredded my jeans. Here’s how I did it

Gathering all of the jeans up, I determined that the best way to repurpose the fabric was to cut in continuous strips. I started the process by cutting off the hem of the jeans. Of course, the hem could be used, but I thought that the double layer of thickness would throw off the texture of the final project. *snip snip*

This process is tough on the hands – especially around the heavy seams, so take frequent breaks to stretch your hands, and expect a little soreness in the morning. Your best bet is to get some strong sharp scissors.

Because the pant legs are tubular, you are going to cut left to right, at a slight diagonal. This will help you maximize the fabric for your strips, and make it one continuous piece. When the cuff (hem) is cut off, make a cut next to the side seam, about 1″ or 4-5cm. From there, begin cutting on the diagonal.

Just like your old cut-off jean shorts, the strips are going to be a little raggedy. If you want a cleaner edge without the fray, it may be better to use some other kind of material for your rag base. I have a pile to t-shirts and old cotton “work” shirts” that are next in line for rag rug weaving.

As you work your way up around the pant leg, you can decide how far you want to go. I chose to go up to the hips, where the inseams meet between the legs, and where the back pockets were added. This still leave quite a bit of material – but it is harder to use – and to cut – because of all of the seams. If you want to use all of your scraps, you may look into some other denim crafts. I have seen some versions of pillows and even tote bags and purses that use jeans.

Each leg that I cut yielded a good amount of fabric. I did not count the yardage, but one pant leg made a nice ball! As I cut more, I had many cute little denim rag balls to play with…

Now comes the fun part. I need to choose an appropriate warping yarn. I am planning to use cotton, probably some of the Sinfonia mercerized cotton in the stash. Just need to measure it out and then put it on the loom… I am hoping that the cotton will be strong enough. I have had a few problems with broken warp threads lately… any tips from seasoned weavers out there?

I am hoping to have the same kind of success as Felicia had with her denim rag rug - although my strips are a little larger than hers. My loom should be strong enough to handle the heavy beating that is required to make rugs. (It handled the heavy beating of the weft-faced sampler I did…) I know the previous loom owner used it for rugs (hence the rag shuttles) so I am gonna give it a go!

Of course, rags can be used in a number of ways. Weaving is only one of the many (see the Worsted Witch post about rag weaving). There is a great rag rug in Mason-Dixon Knitting, and a number of ways you could use the recycled materials for knitting, crochet, or braiding. There are a number of helpful books on the subject too – full of ideas and inspirations to reuse and repurpose old, outgrown, or holey clothes.

Some resources:

• DIY Network’s Crochet Rag Rug
• Knit and Crochet Rag Potholders/Hot Pads
• “Rag Rug” article from 1871
• A tutorial about using cotton flat strips for rags

What can be more rewarding than making something new and functional out of something old and raggedy?

…and until I get that warp ready, I will just practice my juggling…

As an archivist, I get to dabble in museum studies, the theory of space, and object portrayal. At work, we are working on a large scale photography/digitization project, and I was shopping around for some supplies. I came across this great professional photography stand, that is great for object/artifact photography. Looking at this equipment, I realized what an asset this would be for my own personal knitting photography and blogging – but with a $255 price tag, it was a little steep. I have seen several bloggers use a light box setup, so Kris and I conferred and planned, and within a few hours, we got the supplies together and had a fully functional photographic light box – perfect for yarn photography, finished knits and other crafts, as well as any other objects. AND it cost less than $20. We used this small tutorial at Strobist.com as the “jumping off point” for the work, and made a few changes and enhancements with our specific interests in mind.

So, here is how you can have professional quality photographs that will showcase your yarn collection, finished knits, and enhance the quality of your blog (we all realize that photographs are a major part of knit blogging, right?)

SUPPLIES NEEDED:

• large(ish) cardboard box
• box cutter or razor blade
• white or off-white tissue paper
• clear packing tape
• posterboard/foam core/felt/plastic sheeting/fabric for backdrop
• white paper or box top covered with tin foil
• remote flash(es) or bright/flood lighting
• tripod or stand (if using remote flashes)

The Strobist site gives a photographic display of actually cutting your box, so I will not post pictures of that process here.

1. Using your razor blade or box cutter, you cut out three sides of your box – leaving one side in tact, as well as the bottom and top flaps. The uncut one will be your base.
2. Using the clear packing tape, attach your tissue paper with the clear packing tape. Make the paper taut enough to take away the tri-fold wrinkles, but not too taut to break if you touch it. This doesn’t have to be perfect, it will never show up in a photograph, so if the tape gets mangled and wrinkled, don’t worry.

Once the taping is complete, you can begin to experiment with backdrops. We purchased a small selection of posterboard – one in white, one in grey; two foam core boards – one green and one black; two backdrops of indiscernable material – kind of like a foam(?); two plastic aida cross-stitch counts; and two terracotta tiles – one black glaze and the other white glaze. We had trouble narrowing our options, but all of these are not necessary to get started (but all of them were quite cheap in the overall scheme of things).

The KEY factor to a successful photograph is your light source. We used two separate remote flashes – one on a tripod above the box, and one to the right of the box at a distance of about three feet. (We propped this on our kitchen counter). However, if you do not have a remote flash for your camera, you do not need to buy one for this project. You can use flood lighting, a halogen lamp, a compact fluorescent, or even an incandescent light source. With any light source, you will have to take a number of test photos to determine how bright the light should be, and how close you place it to the box.

Tripod set on the table, above the box

Choosing your backdrop and arrangement is definitely the most artistic part of the process. Your object is the most important part of the photo, so you do not want to have a distracting backdrop to take away the viewer’s attention. Therefore, it is best to go with simple neutral papers and non-printed fabrics. Testing your camera’s depth of field is also an important key – do several test shots to see where you should place the object to fit into the frame without showing the sides of the box (or these can be cropped later with a photo editing software).

You also want to determine the best angle for the photograph. Ideally, your camera should be at eye level with the object. If you were to take the shot from above, it would cast odd shadows and could possibly look distorted in shape. Leveling your camera with the box may require you, as the photographer, to kneel on your knees or sit on the floor.

When your object is in place, and you are satisfied with the settings of your light source, do several test photos. Depending on the textures and/or colors of your object, you may find that you still have significant shadows. This is often the problem when trying to photograph darker colors like black, navy, aubergine, and even red. A reflector board, or paper may be your best bet for illuminating these dark spaces. You have the option of using a white cardboard (this worked well for me) or using one of the leftover box sides and covering it with aluminum/tin foil. This reflective surface will counteract with the light sources and bring those shadowed areas to light.

Holding the reflector board at an angle either to the side or above the camera (depending on where the shadow is) will help eliminate the dark areas of the photograph. If you have a partner to help you in this process, they can hold the board above the camera as you snap the photo, but it is also possible to prop the board on the side and wedge the camera between the box sides and the board.

So what do these photos actually look like? Well, considering how easy it is to set all of it up, the photos came out very well! You don’t need the most expensive products to get good results! To ensure good results, however, you have to consider several factors:

The Importance of Backdrop

Each object has its own color spectrum, bouncing light off, and our eyes read that information and process it. Some colors can actually complement others and this aesthetic is what is pleasing and appealing to the eye. The two images below show the same object, in the same light, with two different backdrops.

It may be a matter of opinion, but the colors on the right, with the green background, seem to stand out more, while the photo on the left seems slightly overexposed. The colors in the yarn do not “pop” in the same way. Perhaps if the yarn was a solid color, it would look better on the solid background?

If the backdrop is too busy, or the colors do not complement the object, the eyes will drift away from the image. If the object is ornate and colorful in and of itself, a simpler backdrop would definitely be the best choice. Case in point: the third frame is the perfect union of object, space, and backdrop. The first two do not complement the object appropriately.

The different backdrops on the yarns above cast different moods on the photos: the white is austere and minimalist, while the black is more sophisticated. Both are successful in showing off the yarn, and even the textures of the fiber or fabric. It is the photographer’s decision to determine the mood they are trying to convey in the photograph.

Reflector Board vs. No Reflector

Depending on the shape and texture of the object, a reflector board may be a necessity. This pomegranate (a gift from Amy for my collection) had a harsh shadow because of its irregular shape, and the reflector board brightened up the photograph considerably (maybe even too much?)

The combination of reflector board and appropriate backdrop helped illuminate the notoriously-hard-to-photograph black yarn:

The glossy paper of the label caught a glare from the side flash, but the yarn itself is illuminated well, and you can see the textures of the yarn (a souvenir gift from my sister Mimi – she was recently in New Zealand and brought back these lovely merino wools for me!)

Arrangement of Object / Spatial Considerations / Shadows

The above triptych of the Thai pottery shows three different arrangements – the middle is too close to the camera, as the viewer cannot determine the size and the focal point of the object, while the first fills the frame appropriately. The third image balances the negative space around the object. It is important to note that the eye needs space around the object to fully register what it is. This balance of negative and positive space makes up the balanced composition of the photograph. Some negative space can be attractive to the eye, but too much can be distractive. Experiment with your object’s arrangement to get the proper placement and space. Watch out for odd shadows that an ill-placed object may cast.

The spoon, in the middle of the photo casts an odd shadow in the first photo, and when it is slightly adjusted for the second photo, it looks much more cohesive.

Effective negative space?

It is an arbitrary question in some ways, but the amount of negative space surrounding these acorns allow the eyes to focus directly on the objects.

Proper Arrangement – Differing Heights

The babushka nesting dolls descend in a predictable manner, but items of different sizes and heights can be grouped together and arranged properly. If the items are indeed a unit, as is the case with these dolls, it is important to show them close to each other. If you were arranging a ball of yarn and needles, you would arrange them in much of the same way – the various objects come together in the photograph to show one cohesive object or process.

—

Each photograph is an experiment. Do not become frustrated if it doesn’t work the first time! Digital photography gives us that luxury. I do hope that you have found this tutorial helpful. Please let me know if you decide to construct your own light box! I would love to see your results.

You spend a great deal of time, effort, and money on making your hand knits and your various crafts, why not show them off in the best light possible?

The project is simple, and perfect for a quick decoration. It took only 15 minutes to put it together!

I followed this tutorial: 3-D Paper Snowflake.

For this project, you will need:

• origami paper (or any lightweight square-shaped paper)
• scissors
• clear tape
• stapler (the smaller the staples, the better)

I used some patterned origami paper in blue and gold. I made two snowflakes today, but could make more for table decorations, or for a mantle garland. It is a fun craft that children can also do. Leave me a comment if you decide to make your own!

While the tutorial calls this a "snowflake", it could easily be a flower, or a star. In fact, it looks very much like the poinsettia that I bought last week! The poor poinsettia was on death's door – all wilted and dry – at the market. I got it at a discount, and nursed it back to health. It now adorns my table with big healthy ivory blossoms!

Poinsettias on Wikipedia

History of the Poinsettia

With so much sock yarn and so many lovely patterns, we want to make socks all of the time. Unfortunately we don't have 8 arms, but there is a way we can trick the fates a little – by knitting 2 socks at the same time! How now? Thankfully, one Socktoberist has prepared a great tutorial for doing just that!

Sara at Quacking Fiber Addict uses an unconventional method and has great results! See her wonderful tutorial using a mini-circular needle, which she reports as "so much easier than DPNs"!

She has outlined each step of the process with great photos, and has documented it so well. Thank you, Sara, for putting this together! Click on the picture of Sara knitting away to go straight to the tutorial!

Sara notes that a knitter who wants to try 2 socks on 2 circular needles may need a little practice with circular sock knitting in the first place. A great place to help you learn how to knit socks on circular needles (one at a time) is this tutorial.

And another thanks for Mama E for pointing out this great tutorial that she uses for 2 socks on 2 circular needles!

I have not tried 2 socks on 2 circulars before, but I would love to hear from people who have! Does it "trick" your mind into thinking that you are actually knitting faster? I can see the obvious benefit of not having the dreaded "Second Sock Syndrome", and that in itself makes me want to try this method!

Stacey took the well-known DNA cabled scarf pattern and adapted the cables to socks! She did lots of knitty math and came out with a beautiful sock for her sister, who works in the medical field. She kept copious notes and shares them all on a TUTORIAL on her blog! Check it out!

Kristi at Fiber Fool is pretty darn amazing. This girl writes some stellar patterns, and knits and spins up a storm. She recently reposted a tutorial she wrote last year on how to make CLOG SOCKS. She has a thorough write-up, and some very helpful diagrams on her blog. Go over to her site and see the tutorial and her lovely patterns!

Donna prepared a wonderful sock beading tutorial, and she has shared it with us in Socktoberfest! See her lovely work?

Click on the picture to take you to the photo tutorial!

…and Maia has completely out done herself. She has created not only one tutorial – but THREE! – about how to design your own sock pattern. Each of the tutorials have detailed illustrations and photos like the one here, seen in her Part I tutorial:

Part I: How to Design a Sock

Part II: Design a Cable Sock

Part III: Design a Lace Sock

All of these ladies have worked so hard to provide wonderful tutorials, and I want to thank you so much for doing so! You can thank them too by visiting their blog and commenting on their hard work!

***

PS–Loving this "future" blogging feature in WordPress! I can edit the timestamp and make the blog post whever I want! I wrote up this post about tutorials on Wednesday, and I am posting it on Friday! Live blogging will return after my exams are over! (Saturday evening)

Mona's fabulous pattern Embossed Leaves was featured in the Winter 2005 issue of Interweave Knits, and immediately became a hit in the blogosphere – Embossed Leaves were everywhere. Mona recently published another sock pattern in the Fall 2006 IK, and there is more to come in the Holiday 2006 edition! She has also had designs in Knitscene.

When I asked Mona about a blog interview, she kindly agreed… she is just sweet like that! She has even prepared TWO tutorials, hosted on her blog, that help with the Embossed Leaves pattern.

Two-Strand Tubular Cast-On (Part One and Part Two)

Adapting the Embossed Leaves pattern for different sizes

Can you tell me more about your design process?

Designing socks is more an intuitive conception – often I just start with the yarn I feel like knitting with and cast on. Sometimes I have a certain stitch pattern in mind, other times I just start knitting and get the idea for the pattern while still working at the cuff. I do design other things than socks, but since this is Socktoberfest let’s concentrate on those.

Where do you find your design inspiration?

Especially for socks it is often a stitch pattern I like and has a stitch repeat that’s good for socks – and if it doesn’t fit right away, I’ll make it fit. Funnily enough I do think of people, too, when designing. It’s rather like: If I would knit a sock for so-and-so, what would it look like?

Your Embossed Leaves socks are so intricate and beautiful – how did this idea come to you?

I had seen the leaf pattern on the cover of a book (I actually bought that book just because of the pattern! It’s called Beautiful Knitting Patterns, by Gisela Klöpper) and knew right away that I wanted to use it for socks. Then Regia Silk came my way and I had just tried the tubular cast-on. It was an easy calculation. The kicker was of course the toe. My Mom had just written the instructions for me. I had never used it before. (Admittedly, I was a one-trick pony when it comes to socks, same heel and toe forever, till I realized that there are so many possibilities to mix it up!) Once the foot had the length I thought would fit me I just started knitting the toes as instructed. It really was a lucky coincidence that the star fit the pattern to portray the whole leaf at the end of the sock. Honestly, I couldn’t have planned it any better. Now it sounds preposterous even to me but I only realized that it looked like a completed leaf once the sock was done. The reason it was knit in Koigu (lovely, lovely yarn!) for the magazine is that at that time Regia Silk was not readily available in the US.

When did you first knit socks?

I only started to knit socks when I was 21. I knit my first pair to match a wool sweater I owned (store bought, from ESPRIT). I still have the socks while the sweater is long gone. After finishing these there was a long break and no sock knitting for me. When I started my second pair I was studying and living away from home. Came the time to turn the heel I couldn’t remember how for the life of me. I never had written any instruction down, because if I had a question I would ask my Mom, who was always available and she was and still is pretty much a walking talking knitting dictionary. She’d say: “now you knit 2 together and knit to the end, next needle knit to the last 2 sts and do ssk…” That’s how I learned from her even when I was little, she’d let me knit a row or round and then tell me how to go from there. And I would find afterwards that I had turned a heel, knit a gusset or, when I was like 11 years old, knit a vest for a doll. Strangely enough it worked. Well, most of the time. She had to explain the heel turning once more.

My most precious possession to date is a pair of socks my then boyfriend Rolf knit for me. One of the socks has hearts knit into it and the other my name. Makes me smile every time I think of or look at them. Oh, and no, he hasn’t knit a thing since.

Do you have any designs in the works now?

Oh, there are always designs in the works. Finished are the “Bells and Whistles Socks” in the Holiday '06 edition – and I do have some socks at home that might get published one time or another. Then there’s my work for JCA where I did and do design garments, published this Fall, next Spring and hopefully a lot more seasons to come.

Thank you so much, Mona, for being a part of Socktoberfest!

As you can see, your design is quite popular!  These are a random sampling of Socktoberfest participants who have made your Embossed Leaves – so many colors and adaptations!

If you see yours, let me know   I did a random search and came up with all of these!

*****

Now you have to help me decide which of these lovely yarns I should use for Mona's amazing Embossed Leaves socks, one of my next projects in the queue:

Let me know what you chose by leaving a comment! 

I will knit the socks in the yarn with the most votes

Cookie's design aesthetic clings to traditional motifs and patterning and adds a very modern edge. Cookie agreed to share some of her inspirations, the story behind "The Leg", and gives a tutorial on her lovely new sock-in-progress, the German stockings, in honor of Socktoberfest!

Who are your knitting gurus? Do you admire the designs of someone in particular?

Eugen Beugler and Lew Deyong are two knitters I turn to for inspiration and advice.

• Gene showing off one of his many lace pieces
• Lew carrying around The Leg!

They are both avid lace knitting octagenarians and are an invaluable source of information. And they're charming to boot! Gene has quite a few designs under his belt, including the Frost Flowers and Leaves shawl, and Lew is into "big things" on itty bitty needles. For example, he even knit a bedspread on size 1 needles!

I love Gene and Lew! Besides the two of them, my favorite handknitting designers are Marianne Kinzel and Herbert Niebling for their intricate and organic lace patterns. I also love knitwear designs from Delphine Wilson, Jean Paul Gaultier and Alexander McQueen.

Your Pomatomus socks and Hedera socks are quite the hit! Do you have some other interesting designs up your sleeve?

I have tons of design ideas! Unfortunately most of them are still in my head because I can think faster than knit. I recently finished a couple designs for Blue Moon Fiber Arts using their wonderful yarns. There is a new pattern in the upcoming Winter Knitty. And I am working on a few things that I hope to publish through my blog. This coming year, I would like to get off my butt and submit some designs to the print magazines.

I already posted on the blog about two of the patterns I hope to write up–a short sleeved sweater and the German stocking.

The other one is this previously unseen sock:

What's with the mannequin? It seems like a great prop! Where did you pick up this random leg?

I actually feel very bad about the leg. I borrowed it from a friend for the Pomatomus pictures, and I haven't seen my friend since. I am a horrible thief! The idea came to me when I was trying to think of a clever way to photograph Pomatomus without making it look obvious that I had only knit one! I later bought a full body mannequin, but the legs on that are horribly misshapen with ginormous insteps and flat calves. So in all, I have three fake legs (one of which is not mine) and two real ones.

Where do you get your design inspiration from?

The main inspiration for my designs come from fashion (non-knitwear) and intricate traditional knitting. I am drawn to complicated stitch patterns and finer gauge yarns. At the same time, I find that modern ideas of shape and form can be visually striking, but the structure is often emphasized by use of plain fabric or materials. My general goal is to combine new ideas of shape with the more intricate detailing of traditional knitting. I like to play with spirals, curves and traveling panels along with texture and stitchwork.

What's in the future for handknit socks?

I am hoping to see more knee high socks. I especially like them because there is just so much more you can do, design wise. But at the same time, the shaping and placement of everything gets much more complicated, which can be difficult to write a pattern around. I also hope socks get more creative, with different constructions than the standard toe-up or top-down. And, of course, I hope to see more twisted stitches in everything!

*****

Cookie's newest design, called the "German stockings", is a perfect combination of these intricate traditional cable motifs, and the modern shaping techniques. Although still in the works, Cookie plans to write this pattern for distribution. I can hardly wait! This beautiful design really speaks to me!

Cookie shares an in-depth tutorial of her design process on her blog, Knitters Anonymous. In conjunction with that wonderful tutorial, Cookie answered a few questions about this specific design.

Where did you find the inspiration for this cable pattern?

The inspiration came from traditional German stockings that are very intricate and detailed. I am also drawn to asymmetry and curves or travelling panels. I wanted a sock that captured both elements. And of course, I wanted a knee-high sock.

How did you adapt the cable patterning to the sock?

After looking at pictures of several German stockings, I had an idea of what shape and elements I wanted to use and how I wanted to simplify many of the main features of the traditional German stockings. I don't know how to give a quick answer to this question! I think looking at the tutorial I wrote up will give a more in depth explanation.

Do you do all of your cabling without a needle?

It depends on the yarn and the cable. Whenever I can get away with it, I avoid the cable needle because it's just one more thing for me to lose! But I do use a cable needle for cotton or other slippery yarns, cables that require two cable needles (the double crossing kind), or when I'm knitting laceweight yarn.

Click on the picture below to take you to Cookie's tutorial

Thank you Cookie for being a part of Socktoberfest!

Enter Jo at MisoCrafty – she has put together a STELLAR tutorial with great step-by-step photos on the whole process!

Truly beautiful to behold!

…and not to be forgotten…

Another tutorial – for those of us who need some redundancy! – CosmicPluto offers a wonderful tutorial complete with pictures of Trekking XXL!

**Click on the pics to take you right to the tutorials!**

After my first holey experience, I now have somewhere to turn! Thank you ladies for these great tips and tutorials!

So, for the future sock knitters out there – maybe you can join us for Socktoberfest 2007? – here is a great way to practice circular knitting techniques on circular needles and double-pointed needles, and you will be ready to wield the needles for socks very soon!

For this tutorial, I had the great opportunity to talk to Lisa Shobhana Mason, blogger at My Life in Stitches, and author of the new book, Yarnplay. Included in this post: some questions, answers, and helpful hints on knitting in the round for accessories and garments, as well as a preview of her lovely new book!

Do you prefer to knit garments in the round rather than separate pieces that need to be seamed?

I definitely prefer knitting pullovers in the round. I started doing this early on in my knitting career as a means to avoid sewing up seams. Now I don't mind seaming so much (mattress stitch can be a girl's best friend!). In fact, I find it very soothing. However, i still knit my pullovers in the round!
What tips do you have for beginners who have never worked with circular needles or with double-pointed needles?

A chunky hat is a good place to start, as you get to work with both a circular and DPNs and the stitches are big enough that you can see what's going on and can keep a good grip on your work. The most important thing is to be careful that your stitches don't get twisted during the first couple of rounds.

Is there a special trick that you have to join the work? No special tricks, really. When you join the yarn should be coming from the point or needle (in the case of DPNs) on the right.

What kind of needles do you prefer when working in the round?

I prefer metal needles, both double points and circular, as my knitting is on the tight side. If you're a loose knitter you'll do better with wood or bamboo, as they keep the stitches from slipping.

Another great project to do in the round: armwarmers, such as the adorable Austin Armwarmers, featured in YarnPlay! …and the other great thing about the armwarmers? They are the perfect way to use up leftover yarns – especially the fun self-striping/handpainted sock yarns!

…and because Shobhana loves us, she shared her helpful hints on how to convert a standard seamed pullover into a knit-in-the-round garment!

You'll need a circular needle between 24 – 32" in length depending upon the size of the sweater (the larger the size, the longer the needle).

• Cast on the total # of sts for both the front and the back, placing ring makers between the back and the front.
• Join, being careful not to twist.
• Proceed with the pattern, keeping in mind that on each round you are working 1 row of both the back and the front. If the pattern calls for any side shaping, you will be working it before and after each of the markers. You can continue in the round until you reach the armholes.
• Seperate the front and back, placing half the stitches on stitch holders. You will work the back and front seperately. After you have completed one side, put the remaining stitches back on the needle, join yarn and continue.

Sleeves can also be knit in the round. Cast on using double-pointed needles. Use a ring marker to mark the beginning/end of the round. Join, being careful not to twist. Shaping will be worked just before and just after the marker. You can continue in the round until the armhole bind offs, then you will be working on both sides of the fabric. The best part is that you don't have to sew up the sleeve and side seams!

I find that handpainted yarns have a more interesting look on sweaters that are knit in the round. For me, the color seems to have a bit more flow. This method works best with simple patterns.

Shobhana relates this method to the sweater in the book, aptly titled the Everything But The Kitchen Sink pullover, as it is knit with about 37 different colors and textures of predominantly aran weight yarns.

The more colors and textures, the better! The yardage of each yarn can vary from as little needed to complete one round to a full skein that you will use throughout the sweater. In order to keep your gauge correct the majority of yarns should meet the stated gauge. You can knit an occasional round with a yarn that is slightly lighter or heavier. This occasional deviation from gauge produces an interesting texture. However, you should not use these yarns for more than 2 rounds at a time. When joining a new yarn overlap it with the previous yarn and knit with both for 3 or 4 stitches, cut the first yarn leaving a 2" tail and continue knitting with the new yarn.

…And since this is Socktoberfest… I just had to learn more about Shobhana's sock knitting habits and history…

I was completely lost when i took a sock knitting class way back when. I had been knitting for a couple of months and I was really intrigued with the idea of knitting socks, but I didn't get it. I just couldn't wrap my brain around it. At that time, I discoved a simple pattern for a worsted weight sock at my LYS and with a little coaching from the shop owner a light went on and magic happened! I knit my first pair over the course of a weekend and i was thrilled! I felt like a real knitter!

Shobhana's Socktoberfest sock-in-progress!

I like Trekking and Opal. I've amassed quite a stash of sock yarn which includes Cherry Tree Hill, Lorna's Laces, Scout's Knitted Swag, and bunch of other skeins that I can't quite recall. I knit about 1.5 pairs per year, so i think i have enough yarn to get me well through the next couple of decades! (See her completed socks!)

Thank you, Shobhana, for stopping by and sharing your expertise and stories!

In the meantime, check out her lovely new book, YARNPLAY, just out on bookshelves. The book has some lovely accessories, knits for the home, a whole chapter on finding color inspirtation, and my personal favorites: the sweater patterns! Feast your eyes!

1. Edie Assymetrical Cardigan, 2. Poppy Pullover,
3. K.I.S.S. sweater, 4. Lorelei Tank

*****

Check out the other blog tour stops for Yarnplay:

Sunday 10/22 – Knitting Aloud Monday 10/23 -Lolly Knitting Around Tuesday 10/24 – Knit And The City Wednesday 10/25 -Purl Jam Thursday 10/26 – My Life In Stitches Friday 10/27 – Serendipity Saturday 10/28 – Scout's Knitted Swag

**Suitable for beginners and experienced sock creators alike!

KNIT PICOT EDGINGS / BIND-OFFS

pi·cot (pk, p-k)

n. A series of small embroidered loops forming an ornamental edging on some ribbon and lace.

tr.v. pi·coted (-kd), pi·cot·ing (-k-ng), pi·cots (-kz)

To trim with small embroidered loops.

[French, from Old French, from pic, point, from piquer, to prick]

Picot-edge ribbons can be dated to early 19th century Europe, when they were very popular in fashion as a trim on everyday wear and special costumes. "Ribbon-weavers reaped the benefits for the two years picot-edged ribbon topped the fashion charts." (more info here) The weaving world first experimented with the new technique, but soon after, needle crafters began to work the pretty picot edge into tatted lace, crochet, and knitting as a special edging and trim.

There are many knitting patterns that can be adapted to include a picot trim. Socks are the perfect garment as they have a straight cast-on / bind-off.

Vicki at Knitorious put together a very nice picot tutorial, I Can Picot, Too!, that includes some great technical photos. Click on the picture below to read more about her tutorial:

Roseann at Possessed to Knit shows some of her picot tricks and tips on her recent blog post. Click on the picture below to read more about Roseann's picot process:

Kristi of Fiber Fool has prepared a wonderfully detailed side-by-side comparison of picot edges and techniques. Her details are very technical and so interesting; she has even calculated stretchability of each of the bind-offs!

Knitty Gritty featured Jenna Adorno's step-by-step video tutorial of a picot edge on her sweater "Ultrafemme". Although it is a sweater in the video, the same technique can be used for socks. See the video link on the sidebar!

Some of the lovely picot-edged socks that I have seen on the Socktoberfest Flickr Group…

1) Ketutar's "Dragon Toes" picot edge
2) Michelle's Picot Edge Trekking Socks
3) Linda "MomCat" Cherry Tree Hill Picot
4) SunshinePop's FeatherFan with picot edge

Have you tried picot edging? Did you enjoy the process? Would you recommend it to others? If you have any other hints or tips, please feel free to share in the comments!